Latest news with #SomewhereOnlyWeKnow
Daily Record
06-05-2025
- Entertainment
- Daily Record
British Airways air hostess given 48 hours to live after shock brain haemorrhage
Summer Clarke mimed the lyrics to "Don't Look Back in Anger" by Oasis and "Waterfall" by The Stone Roses as she emerged from a coma after suffering a stroke. For Summer Clarke, life is a melody to be sung. After waking from a coma induced by a stroke, she could sing before she could talk. Initially, she just mimed to "Don't Look Back in Anger" by Oasis and "Waterfall" by The Stone Roses, along with Taylor Swift's popular tunes, but soon she was singing them out loud. Her mum, Linda, shared a poignant moment: "She sang a very emotional Lilly Allen song - Somewhere Only We Know - which was used in the John Lewis Christmas advert. It was our special song, which we sang together. As she sang it she cried. That was heartbreaking because I knew she knew something was not right but she didn't know what had happened to her." Summer's life took an unexpected turn one day in May 2023 when, as a flight attendant for British Airways, she was grilling burgers in the garden with pals. She recalls feeling off: "I started to feel a bit dopey. I knew how to cook but was asking if I was doing things right. I felt strange." That day progressed to an evening at a pub, where severe headaches escalated, resulting in her being violently ill and seeming to experience a seizure, reports the Manchester Evening News. Summer was just 24 when she was urgently taken to Tameside Hospital after suffering a spontaneous brain haemorrhage. She was unable to breathe independently and was placed on life support upon transfer to Salford Royal Hospital, known for its neurosurgery expertise. Linda, her mother, recounted: "The doctors did a draining procedure but the pressure on her brain was immense. I was told that she might have 48 hours to live and we should maybe say our goodbyes. She was given a ten percent chance of survival – it was terrifying." After two weeks in an induced coma, Summer began to show signs of life by moving her little finger. Linda shared: "We were being warned that she might never talk or walk again and be in a vegetative state. "Eventually she started moving her little finger. Then she opened her eyes. But for a good few weeks she was non responsive. Then she started following people around the room with her eyes and slowly it improved from there. She was in the ICU for about six weeks." Summer spent time at Salford Royal from May until November 2023, followed by a stint in a rehabilitation unit at Rochdale hospital from November through to the end of February 2024. Reflecting on her recovery, Summer said: "Before I could even speak to anyone I started to sing. I don't know how. It was like being a baby again, I had to learn everything from scratch." Remarkably, she could sing her favourite songs perfectly before she was able to speak clearly or even recognise her own mother. Linda shared her daughter's incredible journey: "Summer suffered with so many cognitive problems but singing just came naturally to her. "She could sing to music when she came out of the coma. She would start by miming songs and then she could sing anything on her playlist." Summer, 26, reflected on the uncanny phenomenon saying: "Anything we played I remembered the lyrics to, even if I didn't recognise my own mum, it was all very strange." Linda recounted the early signs of recovery: "She was even trying to sing when she had a tracheotomy - it is hard to speak with that in. She was miming the words. From day one of her being put in a coma we had been playing Summer's playlist." Detailing an emotive moment, Linda said: "It was songs from it that Summer began to sing - including my wedding song, Waterfall by the Stone Roses. She had aphasia, and could not get her words out to talk, but she could sing, which is very strange. I was crying when she was singing, it was very emotional." As for Summer's current state, she revealed: "Now I can walk, I can pretty much do everything, the only thing I struggle with is reading. Also for the first time since this I recently rode a bike - which was a bit hard." They credit Summer's remarkable progress to a combination of sheer determination and resilience, along with her passion for music and singing. A survey conducted by the Stroke Association charity, involving 1,000 stroke survivors to commemorate Stroke Awareness Month in May, revealed that over a third of survivors in the North West (37%) lost their ability to speak following their stroke. Interestingly, over a third (35%) reported an enhanced ability to sing compared to speaking in the days, weeks and months post-stroke. In fact, a quarter of respondents (26%) could hum or sing before they regained their speech. In the UK, strokes affect 100,000 individuals annually, with a third of these survivors suffering from aphasia - a language and communication disability that hampers abilities to speak, read, write or comprehend language. Studies have indicated that singing post-stroke can improve communication and spoken language for those afflicted with aphasia. The Stroke Association's survey discovered that more than half of stroke survivors (54%) stated that activities such as singing, listening to music or playing an instrument had a positive influence on their recovery from stroke. Furthermore, two out of five respondents claimed that music had a significant impact on their recuperation. From a practical standpoint, nearly two-thirds of stroke survivors asserted that music aided in enhancing their communication skills after their stroke. Over half of them also reported improvements in memory and hearing due to music. From an emotional standpoint, nearly half (45%) of stroke survivors reported that singing along to music post-stroke helped them unwind, and over a third (34%) found hope in singing as they could vocalise better than they could speak. Additionally, two out of five (43%) felt it brought positivity back into their lives. The organisation also conducted a survey with 2,000 individuals from the general public, revealing that many in the UK are not aware of the significant communication challenges faced by stroke survivors, with over a quarter (28%) oblivious to the fact that such difficulties are a common aftermath of a stroke. Those with aphasia often experience a decline in wellbeing, battling with decreased confidence and social withdrawal. Linda said: "Even when Summer was in the coma I was playing her favourite music, I really think it helped in her recovery and her Dad, Keith, Fiancée, Lewis and Sister, Courtney were all by her side too! The therapist said they were amazed by her progress and resilience which was all down to Summer's attitude." Summer reflected: "While I still struggle with certain things like reading, I look back and think how have I done this? My walking now is near perfect and back to what it was and my memory is sometimes good and bad but I don't let my stroke stop me doing things." "My motto during my recovery has been, 'If I can't do it today, I'll do it tomorrow' and that's what I'll keep living by. " During her recuperation, Summer found immense comfort in the song "Proud Mary" – initially brought to life by the American rock ensemble Creedence Clearwater Revival back in 1969. It was, however, Tina Turner's rendition of the song that greatly aided her recovery journey. This month marks a crucial period as the Stroke Association urges individuals to lift their voices in solidarity, aiding stroke survivors who require essential support after the life-changing ordeal of a stroke. Spearheading the cause, they've unveiled Sing4Stroke, an innovative drive for fundraising. The initiative empowers people to sing in any setting they prefer – be it from the comfort of their homes, during a live stream, within office precincts, school premises, or while hosting a bespoke event – all with the aim of gathering indispensable funds to aid stroke survivors and their families. Professor Mark Tarrant, spearhead researcher from the University of Exeter, elaborated on the study findings: "Singing-based rehabilitation may have positive effects on both social confidence and wellbeing, providing social and emotional support for people with aphasia and their loved ones." Furthermore, Juliet Bouverie OBE, the CEO of the Stroke Association, commented: "There are now over 1.4 million stroke survivors in the UK, and this number is growing. The impact of a stroke can be completely life-altering. We believe everyone deserves to live the best life they can after a stroke but to do this, we need your support. "Singing can be a powerful tool in stroke recovery for those who experience communication difficulties. Because music and singing are processed in a different part of the brain to spoken language, some people with communication problems find that they can sing easily, even though speaking is difficult. "Now we need singers to show their support to stroke survivors and their families. If you're part of a choir or singing group, you could dedicate a song to stroke survivors and donate some of the proceeds. Children at school could vote for a song to prepare and come together to sing at a special assembly for Stroke Awareness Month. You could even hold a 'sponsored sing' and sing 31 songs in a row – one for every day in May to highlight Stroke Awareness Month. By taking part in Sing4Stroke, you'll help make a lasting difference to stroke survivors and their families." Every day in May, it's estimated by the charity that 240 individuals in the UK will confront the devastating effects of a stroke. This condition can leave survivors unable to move, see, speak, or even swallow. However, with resilience, determination and the right support, recovery is achievable. The Stroke Association stands as the sole charity in the UK offering lifelong assistance to all stroke survivors and their families. The organisation provides bespoke support to tens of thousands of stroke survivors annually, funds crucial stroke research, and advocates for the best care and support for everyone impacted by stroke. Linda praised her daughter's resilience, stating: "She is amazing, she goes to the gym twice a week. The gym and the music have played a huge part in her recovery. The experts actually don't know what caused the bleed on her brain. "The doctors did say 'you will get your daughter back in five years. It has not even been two yet, and she has been amazing."
The Independent
10-04-2025
- Entertainment
- The Independent
Oran McConville death: Britain's Got Talent star dies, aged 18
Tributes have been paid to a Britain's Got Talent star who was killed in a car crash just six weeks after the untimely death of his father. Oran McConville, 18, was pronounced dead after the accident. He was sat in the front passenger seat of a grey Volkswagen Golf during a collision in the early hours of Saturday morning (5 April). The driver was arrested at the scene. The teenager, who was a talented footballer, was also a singer, and his school choir took part in ITV talent competition BGT in 2017, reaching the semi-finals the year pianist Toki Myers won the show. He competed as part of St Patrick's Primary School, singing Keane's 'Somewhere Only We Know' in an audition that head judge Simon Cowell gave his seal of approval to. McConville's death comes after his father Paddy 'suddenly' died on February 21. His 11-year-old sister was also killed after being hit by a Volkswagen people carrier in 2009. Speaking at McConville's Requiem Mass in Drumgath, Co Down, parish priest Charles Byrne described McConville as a 'natural performer' who 'got away with more mischief than most' throughout his life, per MailOnline. 'With a smile like his, who could be cross for long?' he said. 'At this time, we are all lost for words. Words are woefully inadequate to express the pain and the sorrow in our hearts that we have for you,' Byrne added. Drumgath GAC, the Gaelic Athletics club where McConville played since he was young and later coached younger athletes described him as a 'kind, gentle, full of humour, and always up for a chat'. 'He had time for people, young and old, and brought joy to those lucky enough to have known him. Whether it was on the football pitch or in the heart of the community, Órán carried himself with warmth, respect, and quiet charm,' they said. McConville's older sister Rachael died in 2009 after she was hit by a car while walking along a road, when he was just three years old. Priest Stephen Ferris, who was with the McConville family when Rachael died in hospital, said at the time that her death 'traumatised' the local area. He told the Belfast Telegraph at the time: 'Rachael was a happy child. She was intelligent and talented. She loved her family and her friends and she had tremendous potential. 'She was living life and enjoying it to the full. Her death has traumatised our close-knit, country parish; it has numbed everyone.' McConville's mother went on to write a book about the death of her child, My Beautiful Daughter, My Beautiful Friend, in 2017, which followed the family's journey through grief. This was followed by a sequel, , and spiritual book Time to Change in 2020.
Yahoo
26-03-2025
- Entertainment
- Yahoo
'I love your song from "Grey's Anatomy"': How the ABC medical drama's soundtrack changed these artists' musical careers
Within two minutes of the Grey's Anatomy series premiere, Rilo Kiley's 'Portions for Foxes' begins to play, and immediately the tone is set. We see Meredith Grey (Ellen Pompeo), a surgical intern, locking the front door of her family home in Seattle, before driving along the highway until she arrives at Seattle Grace Memorial Hospital. There, she steps into an operating room, where she's met by a group of strangers, her fellow interns Christina Yang (Sandra Oh), George O'Malley (T.R. Knight), Alex Karev (Justin Chambers) and Izzie Stephens (Katherine Heigl), each sizing up the other. Rilo Kiley frontwoman Jenny Lewis sings 'I'm just bad news, bad news, bad news,' as Meredith realizes just how grueling the next five years of her residency will be. A drama, comedy, romance and soap opera wrapped into one, Grey's Anatomy has long used music to underscore its most meaningful moments. With more than 440 episodes and counting, the series, which premiered on ABC on March 27, 2005, is known for its ability to pack an emotional punch. Season 1 of the show revolves around the hospital's interns, residents and attendings. The staff deal with life-or-death cases on a daily basis at a top-tier trauma facility, all while trying to keep their perilous workplace romances and friendships from boiling over into their work. Ask any Grey's fan and they'll likely be able to recall one song, if not a handful, that reminds them of a particularly affecting scene from the show, like Keane's 'Somewhere Only We Know' playing as the interns walk out of their first shift or Butterfly Boucher's 'Never Leave Your Heart Alone' punctuating the moment Alex realizes he lost his first patient. Maybe it's the opening chords of Tegan and Sara's 'Where Does the Good Go' or hearing the sisters belt out, 'Look me in the eye and tell me you don't find me attractive,' while Meredith and Christina dance it out for the first time. Music in Grey's Anatomy has always been a focal point. For that, we have Alex Patsavas to thank. Patsavas, who served as the show's music supervisor from Season 1 through Season 16, selected the songs featured in each episode. During her tenure on the series, 2000s indie rock and pop was her bread and butter. (Patsavas didn't respond to Yahoo Entertainment's request for comment.) For artists, both up-and-coming and well-known, primetime placement on the hottest medical drama on broadcast television at the time was career-changing. Singer-songwriter Lisa Loeb, whose song 'Fools Like Me' was featured in Season 1, Episode 3 of Grey's Anatomy, told Yahoo Entertainment that she's grateful when her music becomes 'part of the story.' The track plays over the episode's final montage when Meredith and Derek share a sweet moment in the hospital's locker room. They're fresh into their forbidden workplace romance, and Derek admits to Meredith that he's into her. 'It isn't about the chase. You and me,' he told her, as Loeb's song swells in the background. 'Especially in the digital age, I feel like being on a TV show like that, where people can just focus on a song and the scene — it really connects with people in a whole other way, which does end up making an impact,' she said. 'Especially when it's placed like that, where the song helps the scene, but the scene also imbues the song with some meaning as well.' When the episode aired in April 2005, Loeb had already established herself as an indie pop darling. Her breakthrough hit, 'Stay (I Missed You),' was featured during the credits of 1994's Reality Bites. Since then, her songs played in television shows like Party of Five, Sabrina, the Teenage Witch, Dawson's Creek and Buffy the Vampire Slayer. While Loeb admits the song itself isn't actually romantic — it's about a woman whose affections aren't being reciprocated — there is a glimmer of optimism. 'It goes on to still celebrate what love is, and I'm still open to looking for it,' she said. 'I think that's the part that probably connects you with the Grey's Anatomy story. The part that, no matter what you go through, maybe you're a fool but you still believe in love.' Grey's Anatomy remains the only show 'Fools Like Me' has been featured on. 'When I play concerts, people will say, 'Oh, I love your song from Grey's Anatomy,'' she said. 'I think there's an authenticity and a closeness to the performance. I think the song is able to show a full picture of love. It's not just a happy-go-lucky song about love. It's the time that people feel the worst, but they need to have a bright side.' Ivy, an indie pop band from New York City, was also featured in the first season of Grey's Anatomy. The trio, which consisted of members Dominique Durand, Andy Chase and Adam Schlesinger, was initially approached to write the show's theme song. While their demo wasn't selected, losing out to Psapp's 'Cosy in the Rocket,' their music still appeared on the show. 'I think she was a big fan of ours,' Chase told Yahoo about Patsavas. 'She used a lot of our songs for a lot of her different shows she was working on, so she contacted us and said, 'Would you guys be willing to be on [Grey's Anatomy]?' And we were like, 'Yeah, absolutely.' The band's song 'Edge of the Ocean,' released in 2000 on the band's third studio album, Long Distance, was featured during Season 1, Episode 5. The track plays as a blissfully drunk Meredith dances alone on her porch as a house party rages on inside. In this moment, she doesn't have a care in the world — and Derek can see that. He's been watching her, sweetly, the whole time. They eventually sneak off and have a rendezvous in his car. 'They're at a party and it's romantic,' Durand recalled of the scene. 'He's looking at her while she's dancing and then they're having sex in the car, and it's just the perfect song for it. It just kind of works.' Prior to Grey's, the song was featured in a number of notable projects, including Roswell, Alias and Veronica Mars and the 2001 film Shallow Hal, which Ivy scored. The track remains the band's most commercially successful single to date. They were 'more of an intimate kind of band,' said Durand, so placement on primetime television shows was crucial to putting them on the map. 'Grey's Anatomy brought our song to a pretty wide, diverse audience, maybe even more than had it been in a movie in theaters,' Chase said. 'So for a band like us, it really gets its fanbase from simply touring and movie and TV show placement. That was almost the peak of our career in the mid-2000s, and that really helped kind of push us up this hill. Even today, sometimes we get fan mail and they say, 'I just discovered the band because I was rewatching Grey's Anatomy.'' When selecting music for the series, Patsavas didn't limit herself to solely American artists. She often looked across the pond for lesser-known indie artists, like Galia Durant and Carim Clasmann of the British electronica band Psapp. 'I grew up in the 1980s and my focus was definitely on the great music coming out of the U.K. at that point, so I think I have a special love for it. But, with work, the important thing is not where music comes from; it's more about where it fits,' Patsavas told the BBC in 2008. Psapp's unreleased track 'Cosy in the Rocket' was used as the Grey's Anatomy theme song for the show's first two seasons. Members of the Grey's fandom can likely attest to the fact that the dreamy, lullaby-like opening is an earworm 20 years later. 'It was quite early on in our writing career that we wrote that,' Durant told Yahoo. 'But I do like the song, and what I really like about it is that we found loads of music boxes and we isolated all the individual twangs from the music boxes and sampled them. That was one of the first times that we did something like that.' The primetime placement of 'Cosy in the Rocket' led to what felt like immediate success in the United States for the duo. They found themselves suddenly immersed in a world of music supervisors and production companies in Los Angeles that wanted to feature their music. For Durant and Clasmann, the sudden catapult to fame was surreal. 'We were a bit like a fish out of water,' Clasmann said. 'It wasn't quite what we were doing. It's quite flattering that so many people hear your music and love the song, but everything around it sort of didn't quite fit because we were still sort of [an] underground little band from the U.K. In some way, I'm quite impressed that they chose our song for a big TV series.' The duo has since parted ways. Durant is now an illustrator and graphic designer, while Clasmann is a sound engineer and producer. But their collaborations live on in the numerous television shows their music was featured in, like Roswell, Nip/Tuck and The O.C., which Patsavas also worked on. As for 'Cosy in the Rocket,' Durant describes herself and Clasmann as the song's 'surrogate parents.' 'To me, it kind of doesn't feel like it's ours anymore,' Durant said of the song. 'It feels like it's sort of owned by Grey's Anatomy a little bit because it's had its own kind of momentum. We sort of set it free as soon as we'd written it.' The international recognition that comes with being featured on Grey's Anatomy also took Kieran Scragg, the lead singer of the British band the Buffseeds, by surprise. The band's song 'Sparkle Me,' was featured in Season 1, Episode 5. It wasn't new to American audiences, who first heard the track on an episode of One Tree Hill in 2004. In Grey's Anatomy, 'Sparkle Me' plays during the ending monologue. The moment is somewhat revelatory for Meredith, who, up until that point, had loathed the responsibilities of being an adult. Suddenly she's grateful to have grown up. 'It's a love song. It's kind of this thing for my future wife, as it were, at the time,' Scragg said about the track. 'But it ended up on the end of the show, and they based the whole sort of final scene around it. It's really strange to see.' After the Buffseeds broke up in 2004, Scragg and his writing partner, Neil Reed, wrote the song 'Heart of Stone' for The Twilight Saga: Breaking Dawn — Part Two. From there, Scragg founded My Hart Canyon Music, which composes trailer music for television shows, including Netflix's The Crown and The Witcher. 'Having something on Grey's was an enormous thing. It still is now,' he said. 'So we can kind of trace that direct lineage of having a presence and having all those contacts and having that success early on to where we are now. It's true to say that it's life-changing.' For Scragg, as with many artists whose songs were featured on Season 1 of Grey's Anatomy, the opportunity remains once in a lifetime. 'It's brilliant,' he said. 'You feel like you're winning the lottery, being in this situation.'
Yahoo
26-03-2025
- Entertainment
- Yahoo
'I love your song from "Grey's Anatomy"': How the ABC medical drama's soundtrack changed these artists' musical careers
Within two minutes of the Grey's Anatomy series premiere, Rilo Kiley's 'Portions for Foxes' begins to play, and immediately the tone is set. We see Meredith Grey (Ellen Pompeo), a surgical intern, locking the front door of her family home in Seattle, before driving along the highway until she arrives at Seattle Grace Memorial Hospital. There, she steps into an operating room, where she's met by a group of strangers, her fellow interns Christina Yang (Sandra Oh), George O'Malley (T.R. Knight), Alex Karev (Justin Chambers) and Izzie Stephens (Katherine Heigl), each sizing up the other. Rilo Kiley frontwoman Jenny Lewis sings 'I'm just bad news, bad news, bad news,' as Meredith realizes just how grueling the next five years of her residency will be. A drama, comedy, romance and soap opera wrapped into one, Grey's Anatomy has long used music to underscore its most meaningful moments. With more than 440 episodes and counting, the series, which premiered on ABC on March 27, 2005, is known for its ability to pack an emotional punch. Season 1 of the show revolves around the hospital's interns, residents and attendings. The staff deal with life-or-death cases on a daily basis at a top-tier trauma facility, all while trying to keep their perilous workplace romances and friendships from boiling over into their work. Ask any Grey's fan and they'll likely be able to recall one song, if not a handful, that reminds them of a particularly affecting scene from the show, like Keane's 'Somewhere Only We Know' playing as the interns walk out of their first shift or Butterfly Boucher's 'Never Leave Your Heart Alone' punctuating the moment Alex realizes he lost his first patient. Maybe it's the opening chords of Tegan and Sara's 'Where Does the Good Go' or hearing the sisters belt out, 'Look me in the eye and tell me you don't find me attractive,' while Meredith and Christina dance it out for the first time. Music in Grey's Anatomy has always been a focal point. For that, we have Alex Patsavas to thank. Patsavas, who served as the show's music supervisor from Season 1 through Season 16, selected the songs featured in each episode. During her tenure on the series, 2000s indie rock and pop was her bread and butter. (Patsavas didn't respond to Yahoo Entertainment's request for comment.) For artists, both up-and-coming and well-known, primetime placement on the hottest medical drama on broadcast television at the time was career-changing. Singer-songwriter Lisa Loeb, whose song 'Fools Like Me' was featured in Season 1, Episode 3 of Grey's Anatomy, told Yahoo Entertainment that she's grateful when her music becomes 'part of the story.' The track plays over the episode's final montage when Meredith and Derek share a sweet moment in the hospital's locker room. They're fresh into their forbidden workplace romance, and Derek admits to Meredith that he's into her. 'It isn't about the chase. You and me,' he told her, as Loeb's song swells in the background. 'Especially in the digital age, I feel like being on a TV show like that, where people can just focus on a song and the scene — it really connects with people in a whole other way, which does end up making an impact,' she said. 'Especially when it's placed like that, where the song helps the scene, but the scene also imbues the song with some meaning as well.' When the episode aired in April 2005, Loeb had already established herself as an indie pop darling. Her breakthrough hit, 'Stay (I Missed You),' was featured during the credits of 1994's Reality Bites. Since then, her songs played in television shows like Party of Five, Sabrina, the Teenage Witch, Dawson's Creek and Buffy the Vampire Slayer. While Loeb admits the song itself isn't actually romantic — it's about a woman whose affections aren't being reciprocated — there is a glimmer of optimism. 'It goes on to still celebrate what love is, and I'm still open to looking for it,' she said. 'I think that's the part that probably connects you with the Grey's Anatomy story. The part that, no matter what you go through, maybe you're a fool but you still believe in love.' Grey's Anatomy remains the only show 'Fools Like Me' has been featured on. 'When I play concerts, people will say, 'Oh, I love your song from Grey's Anatomy,'' she said. 'I think there's an authenticity and a closeness to the performance. I think the song is able to show a full picture of love. It's not just a happy-go-lucky song about love. It's the time that people feel the worst, but they need to have a bright side.' Ivy, an indie pop band from New York City, was also featured in the first season of Grey's Anatomy. The trio, which consisted of members Dominique Durand, Andy Chase and Adam Schlesinger, was initially approached to write the show's theme song. While their demo wasn't selected, losing out to Psapp's 'Cosy in the Rocket,' their music still appeared on the show. 'I think she was a big fan of ours,' Chase told Yahoo about Patsavas. 'She used a lot of our songs for a lot of her different shows she was working on, so she contacted us and said, 'Would you guys be willing to be on [Grey's Anatomy]?' And we were like, 'Yeah, absolutely.' The band's song 'Edge of the Ocean,' released in 2000 on the band's third studio album, Long Distance, was featured during Season 1, Episode 5. The track plays as a blissfully drunk Meredith dances alone on her porch as a house party rages on inside. In this moment, she doesn't have a care in the world — and Derek can see that. He's been watching her, sweetly, the whole time. They eventually sneak off and have a rendezvous in his car. 'They're at a party and it's romantic,' Durand recalled of the scene. 'He's looking at her while she's dancing and then they're having sex in the car, and it's just the perfect song for it. It just kind of works.' Prior to Grey's, the song was featured in a number of notable projects, including Roswell, Alias and Veronica Mars and the 2001 film Shallow Hal, which Ivy scored. The track remains the band's most commercially successful single to date. They were 'more of an intimate kind of band,' said Durand, so placement on primetime television shows was crucial to putting them on the map. 'Grey's Anatomy brought our song to a pretty wide, diverse audience, maybe even more than had it been in a movie in theaters,' Chase said. 'So for a band like us, it really gets its fanbase from simply touring and movie and TV show placement. That was almost the peak of our career in the mid-2000s, and that really helped kind of push us up this hill. Even today, sometimes we get fan mail and they say, 'I just discovered the band because I was rewatching Grey's Anatomy.'' When selecting music for the series, Patsavas didn't limit herself to solely American artists. She often looked across the pond for lesser-known indie artists, like Galia Durant and Carim Clasmann of the British electronica band Psapp. 'I grew up in the 1980s and my focus was definitely on the great music coming out of the U.K. at that point, so I think I have a special love for it. But, with work, the important thing is not where music comes from; it's more about where it fits,' Patsavas told the BBC in 2008. Psapp's unreleased track 'Cosy in the Rocket' was used as the Grey's Anatomy theme song for the show's first two seasons. Members of the Grey's fandom can likely attest to the fact that the dreamy, lullaby-like opening is an earworm 20 years later. 'It was quite early on in our writing career that we wrote that,' Durant told Yahoo. 'But I do like the song, and what I really like about it is that we found loads of music boxes and we isolated all the individual twangs from the music boxes and sampled them. That was one of the first times that we did something like that.' The primetime placement of 'Cosy in the Rocket' led to what felt like immediate success in the United States for the duo. They found themselves suddenly immersed in a world of music supervisors and production companies in Los Angeles that wanted to feature their music. For Durant and Clasmann, the sudden catapult to fame was surreal. 'We were a bit like a fish out of water,' Clasmann said. 'It wasn't quite what we were doing. It's quite flattering that so many people hear your music and love the song, but everything around it sort of didn't quite fit because we were still sort of [an] underground little band from the U.K. In some way, I'm quite impressed that they chose our song for a big TV series.' The duo has since parted ways. Durant is now an illustrator and graphic designer, while Clasmann is a sound engineer and producer. But their collaborations live on in the numerous television shows their music was featured in, like Roswell, Nip/Tuck and The O.C., which Patsavas also worked on. As for 'Cosy in the Rocket,' Durant describes herself and Clasmann as the song's 'surrogate parents.' 'To me, it kind of doesn't feel like it's ours anymore,' Durant said of the song. 'It feels like it's sort of owned by Grey's Anatomy a little bit because it's had its own kind of momentum. We sort of set it free as soon as we'd written it.' The international recognition that comes with being featured on Grey's Anatomy also took Kieran Scragg, the lead singer of the British band the Buffseeds, by surprise. The band's song 'Sparkle Me,' was featured in Season 1, Episode 5. It wasn't new to American audiences, who first heard the track on an episode of One Tree Hill in 2004. In Grey's Anatomy, 'Sparkle Me' plays during the ending monologue. The moment is somewhat revelatory for Meredith, who, up until that point, had loathed the responsibilities of being an adult. Suddenly she's grateful to have grown up. 'It's a love song. It's kind of this thing for my future wife, as it were, at the time,' Scragg said about the track. 'But it ended up on the end of the show, and they based the whole sort of final scene around it. It's really strange to see.' After the Buffseeds broke up in 2004, Scragg and his writing partner, Neil Reed, wrote the song 'Heart of Stone' for The Twilight Saga: Breaking Dawn — Part Two. From there, Scragg founded My Hart Canyon Music, which composes trailer music for television shows, including Netflix's The Crown and The Witcher. 'Having something on Grey's was an enormous thing. It still is now,' he said. 'So we can kind of trace that direct lineage of having a presence and having all those contacts and having that success early on to where we are now. It's true to say that it's life-changing.' For Scragg, as with many artists whose songs were featured on Season 1 of Grey's Anatomy, the opportunity remains once in a lifetime. 'It's brilliant,' he said. 'You feel like you're winning the lottery, being in this situation.'
